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Artist: BEHRMAN, DAVID
Title: Wave Train
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"2015 remastered CD in digipak with 12-page booklet including liner notes written by the composer as well as diagrams and scores relating to the published works. Wave Train, originally released by Alga Marghen in 1998, collects experimental works by David Behrman recorded between 1959 and 1968, featuring the Sonic Arts Union. The CD starts with "Canons," a short piece created in Darmstadt over three weeks in the summer of 1959 with David Tudor on piano and Christoph Caskel on percussion. "Ricercar" is a prepared piano piece made in 1961 and has the flexible form of the kind favored by European composers in the early 1960s, and also reflects the work of Cowell and Cage. "Wave Train" (1966), a powerful feedback piece performed live with Gordon Mumma, marks the radical moment when Behrman threw away established techniques. "Players With Circuits" (1966) is an exploration of raw materials; a combination of live electronics and amplified acoustic sound. "Sounds for a Film By Bob Watts," for outdoor environment recording and homemade synthesizer, was recorded at Stony Point, the artists cooperative which John Cage, David Tudor, Sari Dienes, and other friends had established. The last piece, "Runthrough," was made for performance by members of the Sonic Arts Union: Alvin Lucier, Gordon Mumma, Robert Ashley, and, of course, Behrman himself; two of them working the dials and switches of homemade synthesizers, and two others distributing sound in space with homemade photocell mixers; Time Records released a different version of this piece in 1969." - Alga Marghen.

Artist: BEHRMAN, DAVID
Title: My Dear Siegfried
Format: Double CD
Label: XI
Country: USA
Price: $16.00
2005 release. “David Behrman has been active as a composer and artist since the 1960s. Over the years he has made sound and multimedia installations for gallery spaces as well as musical compositions. Sam Behrman and Siegfried Sassoon met in 1920, when Behrman, then a young writer working at The New York Times, was sent to interview Sassoon at the start of the English poets postwar American lecture tour. In that tour Sassoon was billed as "Englands Soldier-Poet." He had a reputation both as a war hero and an anti-war poet and peace activist. Many years later, each author wrote about this youthful meeting, which inaugurated a long-lasting friendship and a correspondence, mostly conducted via trans-Atlantic letters between England and America, which continued into the 1950s. My Dear Siegfried provides a performance environment in which musicians interact with texts by the two authors and with music software designed to respond to the performers actions. The texts and the software elements are arranged as a linear thread along which the piece progresses. In QSRL (1998) a sensor listens to what the performer is doing and a computer music system provides responses to information the sensor takes in. Viewfinder (2002) is a sound installation using software based on homemade synthesizer music of the early 1970s. In A New Team Takes Over (1969), homemade synthesizer modules were used in this piece to distort recordings made off the air of press conferences by members of the new Nixon administration following the American election of 1968. Touch Tones (1979), from the early days of music done with the help of newly-available, small, inexpensive "microcomputers," made use of a kind of primitive artificial intelligence scheme. Pools of Phase Locked Loops (1972) was one of four pieces made in response to commissions to the artists of the Sonic Arts Union (Robert Ashley, Alvin Lucier, Gordon Mumma, and Behrman). The recording is from a live performance at Radio Bremen in May 1972.” - XI.

Artist: BEHRMAN, DAVID
Title: Unforeseen Events
Format: CD
Label: XI
Country: USA
Price: $13.00
1991 release. “Unforeseen Events is one of many pieces David Behrman has made with computer software designed to interact in real time with a solo performer. The four sections recorded here were made specifically with Ben Neills performance style in mind. The electronic timbres are intended to complement the sounds of his instrument, the admirable and humorous mutantrumpet, with its three separately-mutable and playable bells. Refractive Light consists of three small pieces based on an interweaving and overlapping of simple phrases. A musician strikes pitches that trigger responses in the form of sustained tones. The tones die out after a few seconds. While a tone is on it deflects the pitches of other "on" tones, so that harmonic changes occur at the on-and-off edges of overlappping layers. The idea can give rise to a kind of fanning or breathing rhythm that adapts itself to different styles of playing, and to a harmonic vocabulary with dozens or scores of family members.” - XI.

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